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Peter Brook

The Quality of Mercy

In The Quality of Mercy, one of the world's most revered theatre directors reflects on a fascinating variety of Shakespearean topics.
In this sequence of essays — all but one published here for the first time — Peter Brook debates such questions as who was the man who wrote Shakespeare's plays, why Shakespeare is never out of date, and how actors should approach Shakespeare's verse. He also revisits some of the plays which he has directed with notable brilliance, such as King Lear, Titus Andronicus and, of course, A Midsummer Night's Dream.
Taken as a whole, this short but immensely wise book offers an illuminating and provocative insight into a great director's relationship with our greatest playwright.
'This book is an invaluable gift from the greatest Shakespeare director of our time… Brook's genius, modesty and brilliance shine through on every page.' James Shapiro, author of 1599: A Year in the Life of William Shakespeare
'Exquisite… enthralling… This short, modest and brilliant book does more than many more grandiose tomes to renew the reader's fascination with the plays, and the theatre-goer's wonder at the extraordinary and diverse situations locked up inside the First Folio. It should be required reading at all universities and drama clubs' Guardian
'This volume positively seethes and sparkles with ideas… provides not only acute insights into the texts, but intriguing details of performance history, and a few morsels of grand theatrical gossip' — Scotsman
'Should be required reading for any aspiring young directors and actors but also all serious theatregoers… the writing is a model of clarity, the ideas challenging but sensible… it should be on every reader's bookshelf' — British Theatre Guide
76 štampanih stranica
Vlasnik autorskih prava
Bookwire
Prvi put objavljeno
2013
Godina izdavanja
2013
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Citati

  • Dariaje citiraoпре 7 месеци
    I had a similar experience when I staged Hamlet for the first time. Full of awe and respect for this great challenge, I closely studied all the detailed analyses I could lay my hands on. As a result, intuition had no place, and the production was dull, except for Paul Scofield, who refused all discussion and analyses.
  • Dariaje citiraoпре 7 месеци
    When we look at a printed page of Beckett’s plays, we see almost every short line followed by ‘Pause’. This was Beckett’s Advice to the Players. Chekhov did the same, but for ‘Pause’ he used ‘ . . . ’. For the simple series of words to take on the fullest human dimension, the speaker must trust the resonances that arise in these tiny gaps
  • Dariaje citiraoпре 7 месеци
    one of the greatest dangers, I think, that all of us who practise the staging of Shakespeare encounter is the tendency to simplify and reduce.

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